Woman Flying on a Length of Cloth - Suzuki Harunobu
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Description
A 1765 calendar print by Suzuki Harunobu depicting a woman floating on a length of cloth, rendered in the delicate style of early nishiki-e.
This woodblock print by Suzuki Harunobu dates to 1765. It belongs to the genre of egoyomi, or calendar prints, which were commissioned by private clubs of poetry enthusiasts. These prints often concealed the lunar calendar for the year within their design. Harunobu is credited with the development of nishiki-e, or brocade prints, which utilised multiple colour blocks to achieve a sophisticated palette.
The composition depicts a woman suspended in mid-air, standing upon a long, unrolling length of cloth. Her posture and the ethereal nature of the scene suggest a parody of a Chinese Immortal, a common trope in Edo-period art that blended classical motifs with contemporary fashion. She holds a fan, and her kimono is rendered with the delicate, flowing lines characteristic of Harunobu’s work. The background features stylised clouds, providing a sense of elevation and lightness.
Harunobu’s figures are known for their slender, doll-like proportions and graceful movements. This print demonstrates his ability to integrate narrative elements with decorative design. The colour scheme is restrained, relying on soft tones that complement the paper texture. The figure’s gaze is directed upwards, adding a sense of movement to the static medium of the woodblock print. As an egoyomi, the work served a functional purpose for its original owners while functioning as a piece of art. The precision of the carving and the registration of the colour blocks reflect the high technical standards of the period. This print remains a clear example of the aesthetic shift towards multi-coloured printing in mid-eighteenth-century Japan.
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Because every print is made to order, we don't offer change-of-mind returns, refunds or exchanges. If your order arrives faulty, damaged or incorrect, we'll replace it free of charge — just contact us within 48 hours of delivery. See our refunds page for full details.
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We ship worldwide, printing at the production hub nearest to your delivery address. Delivery times and costs vary by destination — you'll see the options available to you at checkout.
Manufacturing
Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
Care and materials
Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
Care & Cleaning
To keep your artwork looking its best:
- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
- Handle prints with clean, dry hands
Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
Woman Flying on a Length of Cloth - Suzuki Harunobu
Artist Biography
Suzuki Harunobu
Harunobu moved away from the stiff portraits of kabuki actors common in his era. He preferred to depict young women in their daily lives, often using an elevated viewpoint to look into private spaces. His series Zashiki hakkei, or Eight Parlour Views, provides a clear example of his method. He took classical Chinese themes and reimagined them as domestic scenes. A temple bell might become a chiming clock. A distant storm is represented by a woman drying herself after a bath.
Modern collectors value these prints for their quiet atmosphere and precise compositions. Harunobu avoided the aggressive energy of later ukiyo-e artists. He chose instead to focus on slender figures and soft colour harmonies. His work captures specific moments of leisure, such as playing cat's cradle or walking by the shore. These scenes offer a calm window into eighteenth-century Japan. They remain popular because they balance historical detail with a clean, graphic sensibility that suits contemporary interiors.
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